Filosofi Panji Malang PDF

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Asian Journal of Social Sciences & Humanities Vol. 3(1) February 2014
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Open Your Mask: Traditional Paradox of Mask Puppet of

Malang, East Java, Indonesia
Robby Hidajat1, Pujiyanto2
Faculty of Letters, Malang State University,
INDONESIA.
1
gantargumelar@gmail.com, 2 anihr91@yahoo.com
ABSTRACT
Mask performance art in Indonesia is considerable and diverse, every area, race or
ethnic community and metropolis community has expression in the form of mask.
Every community defines the expressed “mask” itself over times. Basically, mask face
closing mask wear it, aiming to respect the spirit of ancestors, including king. This
research employed functional-structural approach. The mask is considered as an
integral part of its dancer. Emotional bond hides an individual’s self-identity in order
not to be recognized by others. The character of mask worn was ‘handsome’ as the
symbol of love, and “ugly” as the symbol of evil. The data was collected using in-
depth interview, participatory observation, and document study. Techniques of
analyzing used were interpretative and hermeneutic analyses.
Keywords: Mask, pennant, religion, symbol
INTRODUCTION
The change of original face form characteristic into the mask one is a very old typical human
expression. Originally, it becomes a very practical experience, such as the hunting purpose
creating camouflage to make the hunted animal can be approach easily without suspicion.
Pigeaud (1938) called this manipulation technique ‘samarang’. Such the old phenomenon can
no longer be watched, despite magic factor in manipulating the original face into mask one. It
is because not only the hunted animal-resembling mask is used. The mask is made magically
with incantation.
Such the face manipulation pattern transforms into crimes, with the objective of making the
original face not recognized by others. Such the perspective is in fact not completely true,
because the thief or robber is basically not acquainted with the victim. It may be understood,
if the thief or robber is worried to be remembered by those seeing them. If such the thinking
is understood, every individual’s face is typical and personal. God creates human being
typically and personally, his/her face is only for him/her.
If the assumption is correct, the human being makes the mask aiming to hide the God’s
destiny. Human being tries to make his/her destiny the face to be played him/herself. Just like
the thieves and robbers, they make new face that they only can recognize. Others will find the
face not easily because the face the robber wears is likely worn once or twice, and then
removed.
RESEARCH METHODS
This research employed a qualitative method, that is, to explore the definition and the
meaning of data description as the result of observation, interview and document study. The
main instrument of collecting data was the author equipped by noting tool, audio and visual
recorder. The informants of research were M. Soleh Adipramono, the Mask Puppet’s heir in
Copyright © 2014 Leena and Luna International, Oyama, Japan. ISSN: 2186-8492, ISSN: 2186-8484 Print
19 | P a g e (株) リナアンドルナインターナショナル, 小山市、日本. www.ajssh. leena-luna.co.jp
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Tulus Besar Village of Tumpang, Malang and Malang karawitan artist, Sumantri. The
author’s credibility and the data validity were examined using triangulation technique. The
technique of analysis employed was interpretative one to look for the answer to the problem
based on relational analogy: the statements arising were correlated to the phenomena from
the result of observation, informant statement, and finding from informant’s personal notes
and document.
DATA RESULT
Mask’s Panakawan
Clown’s masks create humorous circumstance throughout amusing atmosphere. The spectator
is brought by the clown mask face into cheerful circumstance. The clowns’ original sad face
is hidden tightly to in order that the spectators do not take the emphatic part of the fate.
Clown mask is the face of foolish, smart, or stupid spectators, or the sorrow transferred to the
performer. Such the phenomenon is different from the case suggested previously. The face of
human being is generally formal, wise, or decorous. Becoming stupid, foolish, smart, or
sorrowful is not their ideal. However, the spectators want to enjoy themselves in others’ face.
This interpretation is in line with panakawan in wayang purwa. A closer look at panakawan
indicates that it has been used finely to generate the symbolization of sorrowful community’s
representation, different from the nobility’s. Such the representation suggests two interrelated
sides. Panakawan whose face is whitewashed like the mask does not represent really the
community. But, the punakawan’s white face covers the (community) sorrow including the
imitative pattern of ever smiling (Bagong), sad (Semar), smart (Gareng), or as if clever
(Petruk) faces. The imitation of other various puppet types with its entire variant still
apparently represent the role of people with its never clear social existence. At least, the
recognition of panakawan’s existence as the part of humor scene is the role of people
considered as dagelan. Because they cannot be considered as capable of communicating
seriously, only ‘batur’ (embatin pitutur) is taken into account.
In Javanese perspective, humor is close to pasemon (secret information) of misery or torment
because it is used for the object of torture (the target of bullying). That the people are ugly,
dirty, and faded is featured through the mask confirming the existence of sorrow. The people
expressed like that are not angry. The Javanese priyayi represented through the puppet seems
to enjoy the panakawan’s ridiculousness. The people’s and priyayi’s opposition in Javanese
art transforms the “kawula-gusti (creature-creator)’ condition (Moedjanto, 1987). It is a
phenomenon of unparallel condition paradox. The Javanese philosophy accommodates the
thought for integration objective in which people is the largest part of social and economic
mobility. The folk mask is put into the manifestation of gusti-pangeran (God). Semar is
perceived as the samar (vague) characteristic of god, considered as “dewa-katon” or bapa or
rama. Such the Javanese perspective is taken by the religion developer in Java as the means
of dialoguing the role of ‘Gusti (God)’ into spiritual to social domain. There was a Javanese
spiritual domain dialogued intensively and deeply. ‘Gusti’ is used as the mask carried in
Hindu-Javanese thought, about avatara of gods; ngejowentah (manifesting) into human
being (Rahardjo, 2002). This political objective is explained as abiseka degree in Mataram
Kings reign; saydin panata gama (the leader organizing the religious life) (Herusatoto, 2001).
Such the perception becomes clear when equated through keywords: kawula-gusti = gusti-
pangeran. Such the Javanese political spiritual perspective explains the position of ‘creature-
creator (kawula-pangeran)’. The mask was opened by Syekh Siti Jenar (Pareno, 2013) so that
the Javanese Kings’ existence was teased.
ISSN: 2186-8492, ISSN: 2186-8484 Print Leena and Luna International, Oyama, Japan. Copyright © 2014
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It was because ‘pangeran (King) is the mask of ‘kawula (people)’. Thus it was conceived that
the king is only the mask the people wear. If this assumption is true, it is possible that the
political myths of Javanese king basically were built on that thought. The justification of
‘kawula-pangeran’ is possible to explain the existence of Jesus in Javanese cultural domain,
‘Allah’s son’ dualism (not conceived as Allah’s child). Such the paradoxical word sequence
is the attempt of synthesizing the perception equally difficult to found, because the existence
was different. Exploring more deeply the essence of Javanese paradox, the myth of sunans,
particularly Kalijaga sunan was known as the creator of mask in Java. The myth is the
paradoxical symbol of existence integration. The perception above is found in panakawan
character of Mask Puppet in Malang, Semar and Bagong are in opposition and complement
Panji Asmarabangun all at once; so are Patrajaya and Raden Gunungsari.
Mask Vs Spirit
The myth of mask carried by Sunan Kalijaga in about the sixteenth century was the typical
characteristic of dialoguing with Hindu-Javanese people’s thought. With ‘mask’ approach,
the Javanese people is expected to be able to re-identify their ‘ancestors’ (Sedyawati, 1993)
from East Java, Panji Asmarabangun (Ino Kertapati). Re-identifying ancestors means
questioning the essence of life revealed through the sangkan parane dumadi (life origin and
objective) perception (Ali, 1986). Javanese people look for its answer through the way they
perform art, one of which is Mask Puppet (Wayang Topeng) performance. If the artists want
to find out the answer from sangkan paran, they should be able and dare to open the mask
they wear. However, not all mask presentation opens the dancer’s face cover having the
performance completed. The face will be kept stored until it enters the krombongan (change
room). The spirit of ancestor is symbolized with mask dancer named Madyautama. The mask
dancer never shows off their original face before the audiences (open his/her mask). The
audiences only guess who is performing the certain characters. Madyautama, an obedient
Buddhist, explains: the existence of mask dancer on the stage is “wenang dhelok gak wenang
didhelok (may see but may not be seen). It is the existence of spirit, essentially perceived
through Javanese philosophy with term tan kaya kinaya apa (Danami, 2002). It means that
essentially the spirit is like nothing, behind which the perspective refers to the man self.
Paradoxically, essentially, Javanese human cannot describe what he/she is looked like. It is
because its cultural characteristic is closed. After each performance, puppet or mask is always
stored in a box (kotak). The box in which the puppet or mask is stores is called as the place in
which the spirit (soul) lies down; kotak ira kayu dendana, isinya sukma kalawan jiwa. In
addition, Lakon Panji (Panji story) also explains a variety of Panji Asmarabangun’s disguise
in looking for his wife, Candrakirana (Soedarsono, 1999). Having met his wife, they then
went back home to Kahuripan (the capital of Jenggala). It is a simple and verbal explanation
that everyone who has completed their duties in the world will go back into ka-hurip-an (go
back home to life; life = spirit) Sumantri, interview on June 12, 2013).
Such the thought can be likely perceived from the Sunans’ role, particularly Sunan Kalijaga.
Spirit in Islam religion is believed as an invisible thing. Muslim generally obligatorily
believes something they cannot see. However, it is actually realized that to believe an
invisible thing is difficult, particularly for lay people. The easy way to explain a vague thing
is to use performing art, puppet or mask. This assumption is suggested, recalling that the
Javanese mubaligs (Islam proselytizers) really realize that traditional performing art growing
over centuries is the Javanese people’s mindset. It can be seen from the mask living in
Javanese people without definition as the dancer’s face cover. The mask is perceived as
atapukan. The synonym is maraked (inherent), mandaked (close/near) (Cahyono, 2010).
Javanese people implement it to spiritual experience to be cedhak tanpa senggolan, adoh
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tanpa wangenan (being close without touched, being far without any limit). Ancient Javanese
language originated from the word tapuk meaning attached to or unified (but not unity). The
unification of mask and its user is the symbolization of the essential integration of soul and
body. Soul is the dancer that makes the mask alive, she/he hides inside. Something apparent
inside human being is cover or conceived as tapel. Tapel is heretofore still used by Balinese
to call mask (Bandem & Rembang, 1976). Such the term was adopted in Majapahit time. The
use of term taple for mask performing art in Bali was because tapel is a cover (Supriyanto &
Pramono, 1997).
Human body is considered as covering the soul (the place to hide or to disguise). Body is
always integrated into soul, because someday the soul may go or move to another body. The
use of term taple can be attributed with religion guiding Balinese life, that the soul is always
related to incarnation law. It rotates like cakrapanggilingan (God Visnu’s weapon in the form
of sharp disk) (Herusatoto, 2001). In West Javanese people, particularly Cirebon people,
although different from Balinese in the term of their religion guidelines, incarnation
phenomenon is expressed very obviously in the performance of Babakan Mask. Babakan
Mask dance is generally performed only by a single dance, while the mask worn can change,
from Panji, Pamindo, Rumyang, Patih, Tumenggung, Jinggoanom, and ended with Klana
performance (Sumiati and Nalan, 1998). The spectators, of course, clearly assume that mask
and dancer are really different. As if the dancer synchronizes his/her movement with the
mask he/she is expressing. Javanese thought is different; the difference lies in the mask. The
dance remains to be the same and cannot change, minimally changes unconsciously (such the
difference is called ndadi or karawuhan).
Mask = Falseness
The mask is always attributed with the means of covering falseness, pretension, or of hiding
something morally considered as bad. Such the thought is a common view of many ethnics
and or nations throughout world. The mask performance presupposes the one making the
counterfeit face of the performers. It is because basically the performers are not like this in
daily life. The performers’ body and soul is borrowed to feature the character that can deceive
the audience. Thus, it is not surprising that there is someone sobbing when watching puppet
performance. It suggests that the spectators can be brought into subconscious world and
compelled to empathize with the deception and trick about the fate and sorrow of the featured
character. Such the deception aimed to generate empathy. People laughing at or afraid of
mask face basically receive its presence. Thus, the mask performance is a ‘soul’ performance.
The presence of soul is fearful and enjoyable all at once.
In other words, the attempt of self-falsifying is called disguise (samaran). To detect
something in order to find out what others do precisely, an individual should be in disguise.
Thus, self-falsification makes the dancer sure that the spectator will really recognize non-
actual performance. The narrators falsify many words from various puppet characters
(Brandon, 2003). Similarly, the mask dance falsifies the dancer’s identity with certain masks,
either good or evil character. Self-disguising into good or evil character is basically not
different. Because such the characters are stored inside the dancer, disguising into the good
one is the attempt of hiding the evil one, and vise versa. Disguise aims to deceive spectators
who always want to know the imaginary and vague representation of characters.
Such the thought and perception is drawn in the attempt of understanding the essence of life
that is actually (essentially) non existent, always performed by human being in disguised
form. The roles the dancer play is the narrators’ decision. Therefore, it is not the dancers who
want to be good or evil, but human paradoxical characteristics that underlie the dancers in
performing it sincerely. This social structure representation pattern was desirable in Javanese
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Kingdom’s glory time. Everyone might not look at directly the king; their faces should be
hidden deeply by means of bowing. If they appeared before the King, the dancers’ faces
should be covered with thick make-up and painted resembling the puppet characters. If they
did not do so, they would wear the mask covering entire face. Thus, they could not speak.
There is narrator replacing the dancers’ voice, meaning that human being may not speak
before the king. Yateman, one of mask dancers from Pijiombo Hamlet, Wanasari, Malang,
understands it. Every time he performs, he always says ‘sebo’; sebo or soan means coming to
see the king. The objective is to ngabekti (giving service). Thus, its social transformation can
be found during Idulfitri holiday, every one ngabekti (is giving service) to parents, either
alive or died. Ngabekti in Java should pass through soan trip called mudik, meaning coming
home. Related to Panji story in Malang, Panji Asmarabangun mudik to Kahuripan along with
Dewi Sekartaji. Mudik the Javanese people do is a social transformation of Javanese people’s
disguise. Javanese people since the National Revivalism era began to be driven into political
domain in living within nation and state; they were no longer the part of king or sultan.
Javanese people had found a way to release themselves by means of removing their masks,
going to the cities with their modesty and plainness supporting the metropolitan life. Once a
year in fitri (reborn) day they come home by wearing their new mask. It is the mask as the
urban people bringing with them its social implication.
The disguise in a variety of Javanese performing art forms has diverse variants, not only evil
or good character. For example, a variety of animal shapes likely brought in from tetemistic
perception: cow, horse, monkey, elephant, lion, bird, goat, snake/dragon, fish or antelope.
Such the choice has historical background that is even symbolic in nature. Self-disguising
into animal is to hide the self into spiritual power of natural power. Self-disguising into
animal is basically to enter the power of spirit mastering the life. Animal does not dominate
the social domain in the reality of human life; they are present to dominate nature and to
control the gods’ power. Human being and animal is united as the complement of life, Visnu
and garuda, Batara Guru and lembu Andini, snake and God Siwa (Hidajat, 2012). It is one
package of characteristic unity that can control the human’s and the animal’s nature. Such the
unity is implemented to Bima character having non-human wives: Dewi Arimbi (gandarwa),
Dewi Nagagini, and Dewi Udangayu. Begawan Durna had horse as his wife. The animal
mask in Javanese puppetry makes the spectators realize to provide social and emotional life
spaces to animal. Thus, in the varied Javanese performing art, it suggests the presence of
masks inherent to the dancer (human being) such as Reog Panaraga performance uniting Lion
and Peacock. The Reog Panaraga performance phenomenon is spirituality power
transformation of God Visnu, a variety of dragon forms in Jaranan performing art reflecting
the spirituality of god Siwa, a variety of horse masks, either in horse picture, horse head
mask, or specially-trained horse (kuda renggong, jaran gombal, or jaran kencak) is the
spirituality of Dewi Wilutomo.
Simply, the presence of various mask forms in animal shape is the self-manipulation of weak
human. Animal, in power aspect, has superiority the human cannot emulate, but human can
seize its spirit. Thus, in certain era, in Java such animal names were used as Kudosemirang,
Keboanabrang, gajahmada, Hayamwuruk, Lembupetng, Maesojenar, and etc. Mask,
embodiment including puppet representation, and animal names is the competition of
spirituality by human beings in order to get divine power. The gods, in complementariness
with animal, have not only spiritual power but awesome power.
DISCUSSION
The Mask Puppet in Malang – East Java suggests the presence of a phenomenon that the
characters in Panji story can be divided into two: Javanese character called right (tengen)
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character and Sabrang character called left (kiwa) one. The tengen character featured is Panji
Asmarabangun and kiwa one is Klana Sewandana. Both of them are complementary in
dualism nature, for example awan-bengi (day-night), padang-peteng (bright-dark), bumi-
langit (earth-sky), and etc. Such the complementariness is called urip (living). Urip moving
from the right to left is called pradaksina, and the one moving from left to the right is called
prasawya (Sunarto, 2012). The complementariness of two Malang Mask dancer formations is
called ngendali. It derives from the Javanese word kendali, meaning driving (controlling).
Ngendali is the verb done by the cart coachman (Hidajat, 2013). A coachman’s characteristic
should be able to drive the running of the horse pulling the cart. Kresna is the coachman of
Harjuna and Salya is the one of Karna. Both of them have same objective but different way of
driving. Chattam Ar, an artist of Malang Mask Puppet, states that urip (living) is one, but
driving many. For that reason, living may be going back to the soul or not dependent on how
to drive urip (living). The schematic finding of ngendali is as follows.
Notes:
• Opposite (half circle) is called ngendali
• The line of related relationship
• The line of coordinative relationship
Figure 1. Mask symbolization living (Hidajat, 2013)
This figure suggests the terms conceived by the Mask Puppet artist in Malang. That the
‘mask’ is a spiritual phenomenon can be seen from the three aspects in life: sing gawe urip
(the creator of living), symbolization of narrator, sing nguripi the symbolization of gending.
The mask symbolizes urip (living). The vertical line denotes the spiritual relationship
commonly conceived by the researcher of Kaweruh Jawa (Javanese Knowledge) as the
keratin telu (king’s kingdom) phenomenon. This existence of three power areas (ruling the
life) is really manifested through the horizontal and vertical relationship in the form of laku
(way) or in Mask Puppet is called Klana. Horizontally, there are two way of human
relationship: to the left (prasawiya) occupied by Dewi Sekartaji (Kediri/Daha), and to the
right (pradaksina) occupied by Panji Asmarabangun (Jenggala) (Hidajat, 2013).
Furthermore, regarding the meaning behind the mask, as mapped in the figure above, through
vertical line, the human being behind the mask is encouraged by three powers of kraton telu:
Intellectual, emotional and will. The perception on the urip scheme leads to living
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constellation, called gumelaring jagad alit and jaga gedhe (the spread of small and large
universe) in Javanese perspective. It can be depicted in the following table.
Table 1. Explanation about gumelaring jagad alit and jagad gedhe (Hidajat (2013)
Keraton Mask
Nature Life Character Meaning
telu Puppet
The mind works
incessantly. It attempts to
look for new ways in
The
Upper nature The mind dealing with everything.
creator of Panji
or head-to- lies in the Narrator The mind should be
living is Asmarabangun
neck part brain controlled, because it is the
Brahma
disaster source. It is the
source of titah (command)
to be living.
Middle Urip The The feeling is fine, even it
nature or (living) is feeling Dewi Sekartaji is never known when it
Mask
shoulder-to- Siwa the lies in the (Candrakirana) comes and goes. It is He
hip part Master heart who knows sangkan paran
Human will may also be
Lower infinite. It leads human
The The will
nature or Kelana being to a never-satisfied
enlivening lies in Gendhing
genitals-to- Sewandana condition continuously. For
is Visnu genitals.
below part that reason, the will should
be restricted.
Observing the jagad alit (big universe) and gedhe (large universe) aspects from Java
cosmology, it has been found out the symbolization of ‘mask’, the analogy of living (urip)
diwengku (supported) by emotional movement as the powerful strength called daya (power).
The symbol found in Malang Mask Puppet is in the form of mask binding ‘cord’ on the
dancers’ head. Cord to bind the mask consists of three: right-left and middle or upper. It
symbolizes the attempts the human being takes to wander (mengelana or berkelana) forever,
to go as he will to look for or to pursuit the satisfaction, although it is the law of living
(kasunyatane urip); if it does not move, it means that it is not alive.
The three-branch mask binding cord is pressed with age cord by two strong connections
between the mask’s and the dancer’s chins; thus, the mask the dancers wear becomes very
strong. As such, the dancers of Malang Mask Puppet cannot voice (speak by themselves)
(Henri & Soleh, 1997). The voice is articulated by the narrator. It means that urip (living)
must be driven by the narrator. Therefore, the narrator of Mask Puppet is always self-
reminded wayang padha karo dalange (fellow human being), waspadakno suwara kalawan
rupa (pay attention to the mask’s voice and face), lek ga bisa mbedakna, topeng gak bisa
ngelakonana (if it cannot differentiate, the mask cannot perform the story (Soleh, interview
on June 12, 2013).
CONCLUSION
The mask in a variety of forms is put onto the human being’s pretension (falseness) form. In
the perception on Malang Mask Puppet as the folk performing art believed by the
stakeholders as the guidance and the spectacle all at once. It is dualistic phenomenon of
paradoxical life, the united contradiction, or called setangkap (two but one) in local term. It is
line with the perception on two sides of coin that cannot be apart each other. Panji
Asmarabangun (love revivalism) and Dewi Candrakirana (full moon) are the natural
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phenomena that can activate the living creature’s sexual power in the world to do
regeneration process. The symbol of love and moon is the eternity cycle that should run
continuously, so that everyone should wander (lelana or berkelana). Lelana ing laladan sepi
(wandering in a silent way) is the evident sign of god moon’s journey. The moon myth is
considered as the oldest one, replaced with fertility one later. Candrakirana story as the origin
of Javanese people believes in the selapan (36-days)-age life. Malang people recognizes the
respecting ritual cycle once in 36 days called suguh, commonly held in jumat legi eve. The
people come to the ancestors’ grave to pray and to sow flower. They even sometime prepare
sajen (ritual offerings) made from rice flour called apem, meaning remitting (forgiving)
(deriving from Javanese people). This sign of respecting the spirit or ancestor can also be
found in Indian or Greek culture in the form of bread without yeast (Suwardono, interview on
October 20, 2013).
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REFERENCES
[1] Ali, F. (1986). Refleksi Paham “Kekuasaan Jawa” dalam Indonesia Modern. Jakarta:
Gramedia.
[2] Bandem, Is M. & Rambang, I. N. (1976). Perkembangan Topeng – Bali sebagai
Pertunjukan, Proyek Pengalian, Pembinaan, Pengmbangan Seni Klasik/Tradisionil Dan
Kesenian Baru Pemerintah Daerah Tingkat I Bali.
[3] Brandon, J. R. (2003).Jejak-Jejak Seni Pertunjukan di Asia Tenggara, terj. Soedarsono,
P4ST UPI, Bandung.
[4] Cahyana, M. D. (2010). “Sendra-Tari Topeng Berlakon Panji Masa Majapahit”
Seminar Internasional Budaya Panji, Malang.
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Denpasar, Bali: Udayana University Press.

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Open Your Mask: Traditional Paradox of Mask Puppet of

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